Introduction

Richard Leppert Life and Works

Adorno was a genius; I say that without reservation. . . . [He] had a presence of mind, a spontaneity of thought, a power of formulation that I have never seen before or since. One was unable to grasp the emerging process of Adorno's thoughts; they emerged, as it were, finished. That was his virtuosity. . . . When you were with Adorno you were in the movement of his thought. Adorno was not trivial; it was denied him, in a clearly painful way, ever to be trivial. But at the same time, he lacked the pretensions and the affectations of the stilted and "auratic" avant-garde that one saw in George's disciples. . . . By all notable standards, Adorno remained anti-elitist. Incidentally, he was a genius also in that he preserved certain child-like traits, both the character of a prodigy and the dependence of one "not-yet-grownup." He was characteristically helpless before institutions or legal procedures. Jürgen Habermas, "A Generation Apart from Adorno"

Theodor Wiesengrund Adorno was born in Frankfurt am Main on 11 September 1903.1 He died from a heart attack just short of his sixty-sixth birthday on 6 August 1969 while on vacation in Switzerland.

Adorno's father, Oskar Wiesengrund (1870-1946), was a wine merchant and an assimilated Jew who converted to Protestantism at about the time of his son's birth. The family was well off. Adorno was an only child whose youth was as sheltered as it was happy. As Martin Jay put it, "His childhood provided him a model of happiness whose memory served as a standard against which he would measure all subsequent disappointments."2 His mother, Maria Calvelli-Adorno della Piana (1864-1952), was Catholic, and it was her family name that Adorno exchanged for Wiesengrund in 1938.3 Also living in the household throughout Adorno's childhood was his mother's unmarried sister, Agathe Calvelli-Adorno (1868-1935). Adorno referred to both as Mother. Maria had been a very successful professional singer, her career ending with her marriage; Agathe had been a successful professional pianist; she had accompanied singer Adelina Patti in numerous recitals.

Adorno's intellectual training was rigorous and came early. By age fifteen, he began a long period of study—occupying Saturday afternoons—of Kant's Critique of Pure Reason mentored by family friend Siegfried Kracauer (1889-1966), who at the time was editor of the Frankfurter Zeitung. By Adorno's own account, the Kant study sessions went on "for years." By 1923 Kracauer and Adorno were studying Goethe's Elective Affinities and, thereafter, the first draft of Walter Benjamin's essay on this work.4 Hauke Brunkhorst states the impact of the Kant studies as "the key work in Adorno's intellectual development. The idea of a negative dialectic, which is Adorno's most unique philosophical contribution, owes much to it."5 Adorno himself acknowledged as much: "I am not exaggerating in the slightest when I say that I owe more to this reading [of Kant] than to my academic teachers."6

Leo Lowenthal (1900-1993), later the distinguished sociologist of literature, whom Adorno met in 1921, also studied with Kracauer. In a letter to Lowenthal of 4 December 1921, Kracauer mused about their mutual friend: "Something incomparable puts him in a position over both of us, an admirable material existence [referring to Adorno's family's wealth] and a wonderfully self-confident character. He is truly a beautiful specimen of a human being; even if I am not without some skepticism concerning his future, I am surely delighted by him in the present." Lowenthal, late in life, described Adorno at eighteen in more personal terms as "a delicate, slender young man. Indeed, he was the classical image of a poet, with a delicate way of moving and talking that one scarcely finds nowadays. We would meet either at a coffee house—mostly at the famous Café Westend at the opera, where intellectual enfants terribles met—or at one or at the other of our parents' places. Naturally, I knew Adorno's parents well, also his aunt Agathe. It was an existence you just had to love—if you were not dying of jealousy of this protected beautiful life—and in it Adorno had gained the confidence that never left him his entire life."7

With Kracauer's guidance Adorno notes that he experienced Kant "from the beginning not as mere epistemology, not as an analysis of the conditions of scientifically valid judgments, but as a kind of coded text from which the historical situation of spirit could be read, with the vague expectation that in doing so one could acquire something of truth itself." No less important, Adorno noted that "What pressed for philosophical expression in [Kracauer] was an almost boundless capacity for suffering: expression and suffering are intimately related. Kracauer's relationship to truth was that suffering entered into the idea—which usually dissipates it—in undistorted, unmitigated form; suffering could be rediscovered in ideas from the past as well."8 The question of suffering, and the responsibility of both philosophy and art to address it, remained with Adorno his entire career.

In 1921, at age seventeen, Adorno entered Frankfurt's Johann Wolfgang Goethe University where he studied philosophy, sociology, psychology, and music. He completed a doctorate in philosophy just three years later at age twenty-one. During these years he met and formed friendships with two men of particular importance to his later professional and intellectual life, respectively: in 1922 Max Horkheimer (1895-1973), eight years Adorno's senior; and in 1923 Walter Benjamin (1892-1940), eleven years older. By the late 1920s Adorno was also acquainted with a number of other heterodox Marxists, including Ernst Bloch, Bertolt Brecht, Herbert Marcuse, and Kurt Weill.

As an adolescent, Adorno's musical training included piano lessons from Bernhard Sekles, also the teacher of Hindemith. As a young man he seriously entertained the possibility of a career as a composer and concert pianist. He acted on this ambition in January 1925 with a move to Vienna, after having been deeply affected by excerpts from Berg's Wozzeck, prior to the opera's world premiere, played at a concert in Frankfurt, where he also met Berg. Berg accepted him as a composition student and gave him lessons twice weekly.9 Adorno also took additional piano training from Eduard Steuermann, a champion of twentieth-century piano works, who like Berg was part of the Schoenberg circle.

Adorno did not find Vienna to his liking. Moreover, the Schoenberg "circle," which he hoped to join, turned out to be not much of one. Schoenberg himself was remote personally and inaccessible physically, having moved outside the city to Mödling following his second marriage; and in 1926 Schoenberg moved to Berlin. Not least, Schoenberg and Adorno did not hit it off, despite Adorno's admiration for the composer's music. Adorno returned to Frankfurt in the summer of 1925, though he traveled back to Vienna on and off until 1927, maintaining his contacts and publishing music criticism, notably in the music journals Pult und Taktstock and Anbruch; for the latter he acquired an editorial position with Berg's help in 1929 which he retained until 1932.10 Both journals championed new music. Adorno's career in music journalism in fact predated his Vienna experience—and vastly exceeded his publication in philosophy, the first philosophical essay appearing only in 1933. Between 1921, while still a teenager, and 1931 he published dozens of opera and concert reviews, reviews of published new music, as well as essays on aesthetics, and heavily favoring new music.11 Thus in 1922, at nineteen, he praised in print Schoenberg's Pierrot lunaire (1912) in the Neue Blätter für Kunst und Literatur. During the late 1920s and early 1930s he and Ernst Krenek carried on in-print debates about free tonality and serialism, and problems of musical form and genre; he also collaborated with violinist Rudolf Kolisch on developing a theory of musical performance.12

Returning to Frankfurt at twenty-four, Adorno began his association with the Institute of Social Research, founded in 1923, with which Horkheimer was already connected—only after the Second World War was the Institute's work referred to as the "Frankfurt School." Adorno's first publication for the Institute came in 1932, with the essay "On the Social Situation in Music," included in this volume; it appeared in the first issue of the Institute's journal, Zeitschrift für Sozialforschung. Adorno formally joined the Institute only in 1938, during its American exile.

The right to teach in German universities depends on the Habilitationsschrift, a kind of second dissertation. Adorno's first attempt ("The Concept of the Unconscious in the Transcendental Theory of Mind") in 1927 was rejected by his advisor, philosopher Hans Cornelius. His second effort, successful, concerned Kierkegaard ("Kierkegaard: Construction of the Aesthetic") and constituted one of the early critiques of Existentialism. Paul Tillich, the theologian, was Adorno's official advisor to this project, since Cornelius had left the university, emigrating to Finland. Adorno's Kierkegaard study was published in 1933, on the very day that Hitler assumed office.

The Marxist orientation of the Institute of Social Research was well known and in no sense disguised; moreover, its members were almost exclusively Jewish. On 30 January 1933, the day of Hitler's ascendancy, the house shared by Horkheimer and Friedrich Pollock in a Frankfurt suburb was seized by Hitler's SS.13 The Institute itself was searched and closed by the police on 13 March. In July the Gestapo office in Berlin sent notice of the confiscation of "Communist property," charging that the Institute "has encouraged activities hostile to the state."14 Most of its sixty-thousand-volume library was confiscated. (The Institute's substantial private endowment had been transferred to Holland two years earlier and was later moved again to the United States, thereby protecting it from seizure.) In September, on his thirtieth birthday, Adorno's right to teach, the venia legendi, was revoked by the Nazi government, and he moved, briefly, to Berlin.15 (To that point in his career Adorno had principally supported himself, however poorly, by journalistic music criticism, rather than teaching.)16

Horkheimer, who had assumed the directorship in 1931, and his colleagues initially moved the Institute to Geneva, where a branch office had been established the same year as Horkheimer became director—until the start of the war there were also branch offices in Paris and London. In May 1934 Horkheimer traveled to New York and secured an affiliation for the Institute with Columbia University. Soon thereafter, Horkheimer was joined by Leo Lowenthal, Herbert Marcuse, and Friedrich Pollock.

In 1934 Adorno left Germany for England, dividing his time between London and Oxford where he studied at Merton College. (His entry to Merton was supported by references from philosopher Ernst Cassirer and musicologist Edward Dent; Adorno had written to Alban Berg for the favor of intervening with Dent, whom Adorno had met through the International Society for New Music.)17 Thereafter, Adorno made numerous trips back to Germany, some quite extended, in particular to see Gretel Karplus (1902-1993) in Berlin, whom he married in 1937. It was possible for Adorno to return to Germany more or less freely for two reasons. First, he was not politically active, nor was he a member of the Institute; second, he was, as Rolf Wiggershaus puts it, "'only' a 'half-Jew'";18 the Nuremberg Laws of 1935 treated Mischlinge like Adorno more leniently than "full" Jews.19 Leo Lowenthal accounts for Adorno's reluctance to leave Germany as typical of the assimilated German-Jewish middle class, the upper middle class especially. "Adorno had such an incredibly hard time finally leaving Germany (we had to drag him almost physically); he just couldn't believe that to him, son of Oskar Wiesengrund, nephew of aunt Agathe, and son of Maria, anything might ever happen [i.e., so secure and happy was his childhood], for it was absolutely clear that the bourgeoisie would soon become fed up with Hitler. This kind of naïve unfamiliarity with the real world—particularly that of Germany and the at-first complicated and then not-so-complicated relations of Christians and Jews—must be borne in mind if one is to fully understand Adorno's personal history."20

In June 1937 Adorno briefly visited the United States for the first time, at the urging of Horkheimer. Adorno and Gretel emigrated in February 1938, thanks to a part-time position established for him by Horkheimer in the music division of the Princeton University Radio Research Project.21 Adorno remained in New York until November 1941, when he moved to Los Angeles, following Horkheimer who had gone West for health and climate reasons several months earlier.22 Adorno's nearly eight-year California exile was intellectually highly productive. Indeed, in a 1957 letter to Lowenthal he confided that "I believe 90 percent of all that I've published in Germany was written in America."23

Major works written during this period include Dialectic of Enlightenment (1944) written with Horkheimer at the beginning of his stay, and, at the end, TheAuthoritarian Personality (1950), a multi-person collaboration with Adorno the senior author.24The Authoritarian Personality, by far the largest monograph Adorno wrote in English, was part of a series of projects that fell under the heading Studies in Prejudice, sponsored by the American Jewish Committee, which had hired Horkheimer to direct its Department of Scientific Research. Between these two major collaborative projects came Minima Moralia: Reflections from Damaged Life completed by 1946 but published only in 1951. Dedicated to Horkheimer, it is Adorno's most personal book, an often deeply moving analysis of late modernity viewed through the condition of exile. At about the same time, he collaborated with Hanns Eisler on Composing for the Films (1947), the first monograph on film music. Philosophy of Modern Music (Adorno's German title is more accurately rendered "New Music"), a highly influential—and controversial—account of music by Schoenberg and Stravinsky, appeared in 1949, though part of it was written several years earlier. In Search of Wagner, parts of which he had published in essay form in 1939, appeared in 1952.

During the war years, Adorno came into close contact with fellow émigré Thomas Mann, then writing his great novel Doctor Faustus: The Life of the German Composer Adrian Leverkühn as Told by a Friend, a sustained critique of Nazism using the fictional composer's biography and work as a metaphor for Germany's cultural decline. In 1943 Mann read both Adorno's Wagner manuscript, and the Schoenberg essay that constitutes the first part of Philosophy of Modern Music. Mann, much impressed, informally secured Adorno's services as de facto principal musical advisor to the novel, which among other things, involved Adorno's coaching Mann on Schoenberg's twelve-tone technique,25 for which he received Mann's public expression of gratitude in his monograph account of the writing of the novel, The Story of a Novel: The Genesis of Doctor Faustus.26 Mann's reaction to reading Adorno's Schoenberg essay: "Here indeed was something important. The manuscript dealt with modern music both on an artistic and on a sociological plane. The spirit of it was remarkably forward-looking, subtle and deep, and the whole thing had the strangest affinity to the idea of my book, to the 'composition' in which I lived and moved and had my being. The decision was made of itself: this was my man. . . . His knowledge of tradition, his mastery of the whole historical body of music, is enormous. An American singer who works with him said to me: 'It is incredible. [Adorno] knows every note in the world.'"27

During the late 1940s Horkheimer, Pollock, and Adorno gradually reached a decision to return to Frankfurt and reestablish the Institute. Horkheimer made a brief exploratory visit in April 1948, and for a longer time during the spring and summer of 1949. In 1950 Horkheimer, together with Pollock, resettled there, though he made a number of return visits to the United States in subsequent years. The Institute's new home, located near the ruins of its prewar structure, officially reopened in 1951. Adorno's first return to Germany since his departure in 1938 came in November 1949; he was now forty-six. The Germany, and the university, to which Horkheimer, Pollock, and Adorno returned was profoundly different from what they had experienced before the war, as Wiggershaus summarizes:

They saw themselves as Jews, as left-wing intellectuals and as critical sociologists in an environment which had been more or less completely purged of people like themselves, and in which all the signs had long since been pointing clearly to the restoration of the old order. The unique symbiosis represented by German-Jewish culture [whose liberal traditions had been a marked feature of Frankfurt University prior to Nazism] had been irreversibly destroyed. Apart from Horkheimer and Adorno, none of the distinguished lecturers or professors from the heyday of Frankfurt University—the last years of the Weimar Republic—returned. Horkheimer, Adorno and Pollock could count on being met with patience and good intentions precisely because they were, and remained, the exceptions.28

Indeed, there was resentment toward the returned Jewish émigrés. In 1953 Adorno was given a tenured faculty position, but as a special case—the precise title was "Extraordinary Chair of Philosophy and Sociology"—as a form of compensation and restitution. But Adorno's position, even in official university language, came to be called the "Compensation Chair, " the very name of which in German (Wiedergutmachungslehrstuhl) is rendered absurd by the extraordinary length of the coinage.29 Indeed, Adorno was never granted a regular appointment, despite his qualifications—or, for that matter, fame. He was finally granted a full professorship in 1957.30

Between October 1952 and August 1953, Adorno was (unhappily) back in Los Angeles—after which he never again returned to the United States, although at the time of his death he was preparing to deliver a series of lectures at Princeton. Horkheimer had signed a research contract with the Hacker Foundation, the brainchild of Friedrich Hacker, a Viennese-born psychiatrist who had opened a clinic in Beverly Hills. The matter was mutually beneficial. Hacker "hoped to gain an academic reputation and advertising for his clinic through collaboration with the leading members of the Institute of Social Research";31 and the Institute's principal figures needed the funding that Hacker was able to provide. Adorno was sent to fulfill the contract; he also needed to return to the United States, else lose his American citizenship which was in fact subsequently surrendered. Under sponsorship from the Hacker Foundation, Adorno produced two studies on popular culture, "The Stars Down to Earth," a monograph-length essay on popular astrology, and the much shorter foray into television, "How to Look at Television."

In his essay "On the Question: 'What Is German?'" originally a radio lecture delivered in 1965, Adorno moved from a broad critique of national identity and its collectivizing tendencies to a much more personal account, in the second half, of his decision after the war to return to Germany. He acknowledges that "At no moment during my emigration did I relinquish the hope of coming back. . . . I simply wanted to go back to the place where I spent my childhood, where what is specifically mine was imparted to the very core. Perhaps I sensed that whatever one accomplishes in life is little other than the attempt to regain childhood."32 But of course the reasons were more complicated. Adorno played up the ordinary European disdain for American commercialism "because it has produced nothing but refrigerators and automobiles while Germany produced the culture of the spirit." But this polemical remark was actually one he intended to undercut. The issue was not America or its commercialism. Indeed, in America, he pointed out, "there also flourishes sympathy, compassion, and commiseration with the lot of the weaker. The energetic will to establish a free society—rather than only apprehensively thinking of freedom and, even in thought, degrading it into voluntary submission [i.e., as he sees European experience]—does not forfeit its goodness because the societal system imposes limits to its realization. In Germany, arrogance toward America is inappropriate. By misusing a higher good, it serves only the mustiest of instincts."33

Adorno made abundantly clear that his American experience was fundamentally, if not surprisingly, shaped by his life before exile, just as his life's work after his return to Germany was reshaped by his years in America.34 High among his reasons for returning to Germany was the desire to be immersed in his native language, not least due to frustrations with American academic publishing. He relates a particularly telling experience involving an American editor, "incidentally a European emigrant," who wanted to publish a portion of Philosophy of Modern Music in English translation, a draft of which Adorno prepared for him to consider. The result was rejection on grounds that it was "badly organized." And also he relates a tale about an essay, "Psychoanalysis Revised," that was virtually rewritten by copy editors of an American professional journal in an effort to achieve stylistic uniformity in the issue ("The entire text had been disfigured beyond recognition").35

From 1955 until his death in 1969, Adorno's publication proceeded at an astounding pace. Taken as a whole, the sheer quantity of his oeuvre is staggering. The German Collected Edition (twenty volumes, printed in twenty-three) comprises more than ten thousand pages, of which more than four thousand concern music; put differently, if pedantically, something over three million words in all, of which a million concern music. And much more remains to be published. The Nachlass, slowly appearing, is estimated to equal the length of the Gesammelte Schriften when complete.36 Besides In Search of Wagner and Philosophy of Modern Music, which concerns Schoenberg and Stravinsky, Adorno wrote monographs on Berg (1956) and Mahler (1960). He left unfinished a virtually career-long project on Beethoven—first published more than twenty years after his death and only recently translated into English—Beethoven: The Philosophy of Music. He supervised publication of six essay collections devoted solely to music: Dissonanzen (1956), Sound Figures [1959, Klangfiguren],Der getreue Korrepetitor (1963), Quasi una fantasia (1963), Moments musicaux (1964), and Impromptus (1968). The collection Prisms appeared in 1955, containing several important music essays in addition to others on a variety of subjects. He also published a loosely structured monograph on musical sociology, Introduction to the Sociology of Music (1962). The range of these collections is noteworthy: composers from Bach to Boulez, but focusing on the nineteenth century, Beethoven especially, and on the twentieth century up to the 1960s; specific musical works; the institution of early music (leading the way into the "authenticity debates" of the 1980s); compositional procedure; musical form; radio music; jazz; and kitsch; chamber music; opera; new music; popular and light music; conductors and conducting; musical nationalism; the role of the critic; recording technology; types of musical conduct; a theory of listening and listeners; and music pedagogy to touch on only some of the most important topoi.37 Besides performance reviews and reviews of published music, he also published book reviews between 1930 and 1968.38 Adorno also composed music much of his adult life, beginning before he went to Vienna in 1925 to study composition with Alban Berg and continuing through the 1930s and 1940s, during his exile in both England and the United States. In 1926 Berg confided to Schoenberg in a letter that he found "Wiesengrund's work very good and I believe it would also meet with your approval, should you ever hear it. In any event, in its seriousness, its brevity, and above all in the absolute purity of its entire style it is worthy of being grouped with the Schönberg school (and nowhere else!)."39 Thomas Mann noted that Adorno was composing music during their association in Southern California during the 1940s.40

Adorno's position as an advocate of avant-garde music was at once reflected and secured by his frequent participation, whether as a composition course director or discussant, in the Darmstadt International [Summer] Vacation Courses on New Music which he attended over nine summers between 1950 and 1966.41Philosophy of Modern Music, published in Germany in 1949, had a significant impact on the postwar generation of avant-garde composers active at Darmstadt—one reflection of which was that Adorno's own compositions were performed with some regularity during this period, though in fact most were written before 1945. And this despite the fact that Adorno was highly critical of the canonic status that serial compositional procedures attained in the aftermath of Schoenberg and Webern, a critique which was, in fact, explicitly voiced in Philosophy of Modern Music and later in "The Aging of the New Music," included in this volume. Indeed, Adorno welcomed aleatoric composition, exemplified in 1957 by Karlheinz Stockhausen (Klavierstück XI)42 and Pierre Boulez (his lecture "Alea," that is, "Dice"), each breaking with his earlier serialist phase.43

Following Horkheimer's retirement in 1958, Adorno assumed directorship of the Institute for Social Research (he had been Horkheimer's co-director since 1955), a post he retained until his death. Between 1958 and 1965, Adorno produced four volumes of essays on a broad array of literary topics, Notes to Literature I-IV. His philosophical monographs from this period include Against Epistemology: A Metacritique (1956), a critique of Husserl and phenomenology; and The Jargon of Authenticity (1964), attacking Heidegger and other proponents of Existentialism. Negative Dialectics, a sustained critique of canonic Western philosophy and metaphysics from Kant and Hegel to Husserl, Heidegger, and Sartre, appeared in 1966. Not quite finished at the time of his death was Aesthetic Theory. And there is much more that I have not mentioned, including several other essay collections, and many single essays.

Often lost sight of in American consideration of Adorno, likely due to the difficulty of his major philosophical works, is that he was in every sense a public intellectual. Thus between 1950 and 1969 he was heard on more than 160 radio programs on highly varied subjects, including music. Other topics included matters of general political interest, such as the state of German public education and the question of historical memory in the light of National Socialism. He spoke about philosophy, his experiences as an émigré in America, and even free time (leisure and "hobbies," a word he spoke in English, and which he disparaged). Often Adorno revised the radio lectures for publication, principally in popular journals, and later collected them in paperback editions. As Henry W. Pickford notes, "His engagement in the mass media was a logical consequence of his eminently practical intentions to effect change."44

Adorno's regular lectures at his university were widely attended, some filling lecture halls seating one thousand. And of course he often lectured at other German academic institutions. In short, he was a major intellectual force in both academic and public spheres. In the words of his friend Leo Lowenthal—who chose to remain in the United States after the war and achieved a notably distinguished career at Berkeley—Adorno was "Germany's most prominent academic teacher and outstanding citizen of the Western-European avant-garde."45

The left student movement of the late 1960s produced a dramatic change in Adorno's fortune among the very students much influenced by his philosophical and sociological writings. Adorno had refused to join the student protests in Frankfurt in 1969. Worse, on 31 January he had called in the police to end what he mistakenly thought was a student occupation of the Institute (in fact, the seventy-six students arrested had merely been looking for a place to meet). Matters came to a final head in April when three women activists of the SDS interrupted Adorno's philosophy lecture ("An Introduction to Dialectical Thinking") by surrounding him at the podium, bearing their breasts, simulating caresses, and "attacking" him with flowers. As Martin Jay described it, "Adorno, unnerved and humiliated, left the lecture hall with the students mockingly proclaiming that 'as an institution, Adorno is dead.'"46 His physical death from a heart attack followed four months later.

Critical Theory

Whoever doesn't entertain any idle thoughts doesn't throw any wrenches into the machinery. Theodor Adorno, "Meaning of Working through the Past"

Critical Theory—the designation comes from Adorno's friend and mentor Max Horkheimer in an essay published in 193747—is constituted as a loose amalgamation of philosophical principles rather than as either a neatly packaged system or a methodological recipe.48 In what follows I lay out the defining issues and the social and cultural stakes to which these principles respond. To be sure, Frankfurt School Critical Theory evolved over time and was never regarded as a seamless entity. Nonetheless, some basic parameters are clear and well established.

Horkheimer's lengthy essay, "Traditional and Critical Theory" (1937), is a good place to start. He opens the text with a question: "What is 'theory'?" and immediately proceeds to provide the "traditional" answer, articulated as an outgrowth of scientific method employed in the natural sciences but also adopted by the social sciences—for which, as he will argue, traditional theory is sorely inadequate. "Theory for most researchers is the sum-total of propositions about a subject, the propositions being so linked with each other that a few are basic and the rest derive from these. The smaller the number of primary principles in comparison with the derivations, the more perfect the theory. The real validity of the theory depends on the derived propositions being consonant with the actual facts."49 The inadequacy of traditional theory, Horkheimer argues, lies in its "assiduous collecting of facts"—not in the facts themselves but the invisibility and even irrelevance of the historicity of facts, and of the fact-perceiving human subject: "The facts which our senses present to us are socially preformed in two ways: through the historical character of the object perceived and through the historical character of the perceiving organ. Both are not simply natural; they are shaped by human activity, and yet the individual perceives himself as receptive and passive in the act of perception."50

Horkheimer's intention is not to attack scientific method but to delineate its inadequacy in theorizing the social, cultural, and political realms of human experience. Stated simply, traditional theory cannot address the fact and problem of the social totality precisely because the social totality develops less from the relation of fact to fact and more from the relation of fact to value. Further, fact and value are invariably history-laden, and the "facts" of history become facts not as the result of some natural order but because they are made so, indeed even willed so, by the social orders that prevail in a given time and place, which is to suggest that a social or cultural "fact" is not necessarily either permanently or universally so regarded. Moreover, the thinking subject—who will produce or define social "facts"—is never external to the processes for which explanation is sought. The scholar-subject is not autonomous; to assume autonomy is blindly to accept as "natural" fact the ideology of the Cartesian ego itself (the mind "is not cut loose from the life of society; it does not hang suspended over it").51 In short, as Christoph Menke accounts for this issue, "The limits that Horkheimer sees imposed on traditional theory derive from the fact that it cannot grasp itself—its own functioning—as theory: it is not reflexive."52

Horkheimer provides an example in the modern intellectual division of labor: "In society as it is, the power of thought has never controlled itself but has always functioned as a nonindependent moment in the work process, and the latter has its own orientation and tendency."53 Thought in modernity is fundamentally instrumental. And further, thought is marked by social privilege; it bears the mark of society's lack of equality. That some individuals are intellectuals occurs in relation to the denial of the intellectual practice to others, and this social fact affects thought itself. Expressed in more global language, the happiness of some comes about via the denial of happiness to others; it is this crucial mediation of happiness that is erased unless the "fact" of happiness is examined in relation to value and history.

The Marxian insight that drives Horkheimer's concern is the demand for equal justice. But unlike Marx he does not see a rising up of the proletariat (neither did Adorno). That the poor and oppressed deserve, or for that matter might even demand, justice does not constitute its guarantee. Indeed, Horkheimer notes that the situation of social degradation and domination is "no guarantee of correct knowledge." Accordingly, he insists on the responsibility of the intellectual to "be a critical, promotive factor in the development of the masses."54 The critical theoretician's role is to help change society by explaining it—but all the while remembering that his or her own position of relative intellectual privilege ironically exemplifies the very problem for which redress is sought.

Horkheimer acknowledges the utopian character of Critical Theory; its goal is not the perpetuation of present society but society's transformation.55 Or, as he expressed it elsewhere, "The real social function of philosophy lies in its criticism of what is prevalent."56 Nonetheless the extreme difficulty of effecting progressive change was recognized by Horkheimer, not least in light of Stalinism and National Socialism. Salvaging the possibility of thought itself appeared to be an enormous challenge: anti-reason seemed to drive modernity toward dystopian fulfillment. As he pointed out, "the first consequence of the theory which urges a transformation of society as a whole is only an intensification of the struggle with which the theory is connected."57 Adorno, in Negative Dialectics, voiced what he saw as an increasing prohibition on thought itself: "When men are forbidden to think, their thinking sanctions what simply exists. The genuinely critical need of thought to awaken from the cultural phantasmagoria is trapped, channeled, steered into the wrong consciousness. The culture of its environment has broken thought of the habit to ask what all this may be, and to what end; it has enfeebled the question [of] what it all means—a question growing in urgency as fewer people find some such sense self-evident, as it yields more and more to cultural bustle."58

Critical Theory, responding to the specific historical circumstances of Western modernity, constitutes a Marxian-indebted critique of exchange economy and its impact on the subject and society—though Adorno's critical-theoretical practice, by contrast with most of his Frankfurt School compatriots, involved socio-cultural rather than socio-economic critique. Here is Horkheimer's summary statement: "The critical theory of society is, in its totality, the unfolding of a single existential judgment. To put it in broad terms, the theory says that the basic form of the historically given commodity economy on which modern history rests contains in itself the internal and external tensions of the modern era; it generates these tensions over and over again in an increasingly heightened form; and after a period of progress, development of human powers, and emancipation for the individual after an enormous extension of human control over nature, it finally hinders further development and drives humanity into a new barbarism."59 The "point" of Critical Theory develops from the presupposition of freedom, even to the extent that general freedom does not yet exist.60 As Horkheimer states near the end of his essay, Critical Theory "has no specific influence on its side, except concern for the abolition of social injustice."61

Critical Theory stands in opposition to closed philosophical systems—Hegel's is a prime example—precisely because of the idealism that governs such systems' operation. That is, Critical Theory opposes philosophical systems designed to achieve a "logical" closure or absolute truth without necessary reference to the reality that stands outside thought itself. Thus the "totality" achieved in Hegel's dialectical overcoming of contradiction is at heart false to the extent that its philosophical logic fails to address actual social contradiction. Critical Theory by contrast draws attention to social contradiction—material existence—expressed as antagonism and suffering, not only by what it attends to and "says" but also by how its speaks: in fragments, aphorisms, short forms, in a word, anti-systematically, and by formulating a negative dialectics, in opposition to the (positive) dialectics of the Hegelian model, a topic I'll pursue later. Critical Theory seeks to conjoin philosophy with social analysis, the practice governed by a materialist, as opposed to idealist, dialectics, the ultimate concern being human happiness.62

Now to Adorno. The parameters that define his thought are several, and their principal features have been mapped by Martin Jay:63 Marxism of a distinctly heterodox variety; aesthetic modernism; what Jay names "mandarin cultural conservatism," in particular reference to Adorno's writing on mass culture (Jay's position here is, in my judgment, too baldly stated, as I shall discuss later); a "Jewish impulse," particularly notable after the onset of the war and the horrors of the Holocaust—the first sustained discussion by Adorno of anti-Semitism appears in Dialectic of Enlightenment; and, finally, what Jay names "Deconstructionism," as much as anything, I think, reflecting the moment Jay's Adorno monograph was written.64

Finally, Adorno's thought reflects his reading of Freud,65 and the place he defined for psychology in his social theory, notably pertinent in light of what Jay has termed "the unexpected rise of an irrationalist mass politics in fascism, which was unforeseen by orthodox Marxists."66 In point of fact, Adorno's principal interest in psychoanalysis was its de facto delineation of social trauma. To mark social trauma constituted a step toward the healing of the individual within society, to the extent that diagnosis precedes cure. But this is not to suggest that Adorno's interest was with psychoanalytic therapy, which addressed the individual psyche and whose healing remained distinct from the social whole. The diagnosis Adorno sought was social not individual, though the specific detail of individual psychosis could in turn inform social diagnostics. As he put it in the Dedication of Minima Moralia, "society is essentially the substance of the individual."67 (Adorno's social psychology is in fact much governed by a study of the family, as a kind of middle ground between the individual and the larger society.)68 More important for Adorno, Freudian psychoanalysis, ahistorical and based on a biological premise, nonetheless "expressed, at least metaphorically, one aspect of the nonidentity of man in an unreconciled totality."69

During the early 1940s, while living in Southern California, Adorno and Horkheimer jointly authored a text they first named Philosophical Fragments in a 1944 mimeographed edition, and later Dialectic of Enlightenment when the text was formally published in a revised version in Amsterdam in 1947; the book first appeared in English only in 1972.70 Douglas Kellner comments that Dialectic of Enlightenment "provides the first critical questioning of modernity, Marxism and the Enlightenment from within the tradition of critical social theory," thereby anticipating by several decades postmodernism's critique of modernity.71 The book is unconventionally structured and in a way that reflects the function of writing as Adorno understood it, though it might likewise be argued that the text is something of a hybrid, perhaps the result of an amalgamation of two quite different narrative styles: Horkheimer's distinctly the more conventional, organized in standard essay or chapter format; Adorno's the opposite, markedly more constellational, fragmented, and aphoristic. Elements of both are replete throughout the text.

The book opens conventionally, with an introduction, followed by a chapter on "The Concept of Enlightenment." Thereafter, chapter organization is interrupted by two paired sections called "Excursus," each of chapter length and on topics seemingly far removed from an investigation of (modern) enlightenment: The Odyssey and the Marquis de Sade. What follows next is still more jarring in light of the immediately preceding excursuses, namely, the much cited chapter on "The Culture Industry: Enlightenment as Mass Deception," followed in turn by a chapter on anti-Semitism. At the end the text fragments radically in a lengthy section simply named "Notes and Drafts," organized as a series of twenty-four aphorisms, similar to those in Minima Moralia, which Adorno was beginning to write at the time. The book's organization, philosophically and socially grounded, is anti-philosophical to the extent it abandons any model of closed systematic investigation in its attempt to understand modernity. Nonetheless, it is fundamentally philosophical within the context of Critical Theory's critique of traditional philosophical practice. As regards both its narrative structure and its stance on history, the book is of singular importance for understanding Adorno.

The Marxian foundation of Critical Theory is shifted away from class conflict to what Adorno and Horkheimer regard as something more fundamental, namely, the subject's historical relation to nature as one of conflict which turns the subject against others and, ultimately, against the self. "What men want to learn from nature is how to use it in order wholly to dominate it and other men.72 That is its only aim. Ruthlessly, in despite of itself, the Enlightenment has extinguished any trace of its own self-consciousness." And later: "Enlightenment is totalitarian."73 This, in essence ultimate, conflict, in other words, long predates capitalism. As Adorno and Horkheimer (in)famously argue, the fundamental forms of domination that organize modernity have their roots in the primordial efforts of human beings to survive in a nature—primordial totality—of which they are at once a part yet deeply alienated from and fearful.

And yet human subjects lament the very separation from nature upon which their subjectivity is ultimately grounded. Thus by the principle Adorno and Horkheimer articulate, the designation of national parks which first occurred during the heyday of the Industrial Revolution—itself signaling a kind of final triumph over nature—directly responded to the fractured relation of the subject to nature; the setting aside of small and as yet "untamed" geographies signified less a nostalgic return to nature than a material acknowledgment of the permanence of the fracture, in the same way that salvage anthropology in essence picks among the graves and ruins to remember what "advanced man" has destroyed to become advanced. In this sense, of course, charity—compassionate conservatism—falls in line as a substitute for justice, not to alter the foundation of domination74 but to make injustice more tolerable to some people's stomachs and other people's conscience.

The driving theme of Dialectic of Enlightenment is the ironic regression of enlightenment, reason's alleged goal, into myth, whose deadly consequences at the level of the subject and society were so dramatically enacted in the Aryan myths of the Third Reich. The book's "purpose" was to produce a critique that made visible enlightenment's internal contradictions, the recognition of which would necessarily constitute the first step in rescuing enlightenment from itself—from its unrecognized debased form. In this regard, for all its often cited pessimism, Dialectic of Enlightenment is at heart utopian.

The fundamental rhetorical device of Dialectic of Enlightenment is exaggeration, embodied in the vast historical sweep from Homer to the movies, in an implicitly unbroken historical thread, as exemplars of domination to the point of self-domination—a gesture narratologically as effective as it was grist for subsequent criticism.75 As Susan Buck-Morss points out: "The polemical, iconoclastic intent of the study is the reason why it focused on two sacred cows of bourgeois rational thought, the harmonious age of ancient Greece and the eighteenth-century Enlightenment. These moments of an idealized past were juxtaposed to the most barbaric, most irrational phenomena of the present in order to demythologize the present and the past's hold over it."76 Not the least of the book's intent is the effort to dismantle the self-satisfied ideology that structures the heart of historicism, the myth of history as progress, which itself underwrites the ideological ground of modernity as the supposed realization of the Enlightenment.

Though both Adorno and Horkheimer were modernists to the core, they attack the degree to which modern enlightenment is defined in terms of technological achievement. Neither was nostalgic for a supposed lost Golden Age, whether that of Homeric myth or the progressive moment of the bourgeois revolution in the early decades of the nineteenth century ("The task to be accomplished is not the conservation of the past, but the redemption of the hopes of the past").77 Technological achievement as such is a neutral element in their critique. Rather, it is the fetishization of technological achievement, and how technology comes to made a fetish, that locates their concern. The real issue is instrumental reason and its function in domination: "Reason itself has become the mere instrument of the all-inclusive economic apparatus. It serves as a general tool, useful for the manufacture of all other tools, firmly directed towards its ends, as fateful as the precisely calculated movement of material production, whose result for mankind is beyond all calculation. At last its old ambition, to be a pure organ of ends, has been realized."78 That is, reason instrumentalized is reason not concerned with social truth and its implications for social justice, but reason of the bottom line, whether in economics or cultural politics—reason degraded to wit, smarts, and especially cunning,79 which functions as a tool on behalf of the self, not the other. Instrumental reason serves as agent in the subject's war on nature, broadly understood. Reason's "cunning [List] consists in turning men into animals with more and more far-reaching powers, and not in establishing the identity between subject and object."80

Adorno and Horkheimer argue that the dilemma of instrumental reason functions as a defining principle in Western history as far back as written records survive. Instrumental reason, the determinate agent in domination—so they scandalously argue—determines the primordial hero of Western history, Odysseus himself, in essence the First Modern Man, the hero as relentless Can-Do specialist of the ancient world. His cunning defeats Polyphemus, and by techniques of wanton cruelty;81 his wit saves him from the Sirens, but only at the expense of his men whose ears he orders stopped up with wax to render them deaf to the Sirens' song, whose pleasure he denies them not for their own good, to avoid being drawn thereby to the rocks, but so that he can hear the song without risk to himself. Good planner, he buys himself some insurance by ordering his men to tie him securely to the mast, a gesture that also "pays" for the pleasure through a gesture of self-renunciation. Odysseus's ears are unstopped; he hears the song, but cannot act on the desires thereby lavishly produced. Lashed to the mast, he is at once the simulacrum of phallic power and self-rendered impotence.82 Desire for desire is a recurring trope, as is desire's defeat through seemingly perpetual deferral, the Weberian Protestant work ethic avant la lettre. "The history of civilization is the history of the introversion of sacrifice. In other words: the history of renunciation. Everyone who practices renunciation gives away more of his life than is given back to him: and more than the life that he vindicates."83

Fear, and fear's resentment, is the dominant trope of Dialectic of Enlightenment: Polyphemus is feared hence blinded; the self is feared and disciplined; the Jew Other is feared and destroyed. Put differently, humankind's long "modernity" is constituted by a radical act of othering, in which each instance of the other exists either to serve or be destroyed.84 Fear's causes are real. The human being in a primordial state confronts the world at once as provider and threat. Language initiates the process of ordering nature's apparent randomness and, worse, chaos. Myth narrates an order, via an already advanced form of reason—but not advanced enough. The language-act of myth is a device for coping with nature, not controlling it. The subject (in actuality not yet a subject) functioning under the order of myth only "imagines himself free from fear when there is no longer anything unknown." Enlightenment supplants myth, itself a lesser form of enlightenment but enlightenment nonetheless: "Enlightenment is mythic fear turned radical." Enlightenment supersedes myth, by means of which the subject controls nature absolutely. Enlightenment is determined by the need for nothing to escape its insight: "Nothing at all may remain outside, because the mere idea of outsideness is the very source of fear."85 But to banish fear, through enlightenment, leads as well to the banishment of pity. Enlightenment is relentless, its demands total. The world must be rationalized, myth banned for its sin of fiction. The elimination of "outsideness" demands the identification of the Other, all others, and by whatever means necessary, the most efficient of which is reason instrumentalized, reason put to the task of naming, labeling, identifying. The modern forms of identification numbers—whether registered on magnetic disk or tattooed on one's arm—mark the outer limits of the territory. This is the form of rationality that conjoins Odysseus and Sade, whose accounts of the body involve systematically cataloguing its orifices and demonstrating their functionality for others' pleasure with imaginative—yet disciplined—concentration:86 a modernity of sex in which the subject effectively others itself in the most fearsome manner that the human mind can envision—fully codified, a systematic law of outrage. Reason reverts, reasonably, under the circumstances, to its own other: Cartesian duality is enacted without mercy, the mind and body87 in an embrace defined by hatred via the allegory of rape. The exchange principle is here worked out in an economy of hungry and degraded flesh, and the world is organized into binary principles: strong and weak, agents and their victims. "Enlightenment has relinquished its own realization."88 And yet the antidote to instrumentalized reason is reason—the paradox and contradiction at the heart of the dialectic of enlightenment. As Adorno pointed out in Negative Dialectics, "Today as in Kant's time, philosophy demands a rational critique of reason, not its banishment or abolition."89

To summarize: enlightenment and domination are co-dependent. And in the end, the survival that accrues by othering nature produces at the same moment an othering of the self: "As soon as man discards his awareness that he himself is nature, all the aims for which he keeps himself alive—social progress, the intensification of all his material and spiritual powers, even consciousness itself—are nullified, and the enthronement of the means as an

About the Book

Theodor W. Adorno (1903-1969), one of the principal figures associated with the Frankfurt School, wrote extensively on culture, modernity, aesthetics, literature, and—more than any other subject—music. To this day, Adorno remains the single most influential contributor to the development of qualitative musical sociology which, together with his nuanced intertextual readings of musical works, gives him broad claim as a continuing force in the study of music. This long-awaited collection of twenty-seven essays represents the full range of Adorno's music writing. Nearly half of the essays appear in English for the first time; all of the essays are fully annotated; and the previously translated essays have been corrected and missing text restored, making this volume the definitive resource on Adorno's musical thought.

About the Author

Richard Leppert is Samuel Russell Distinguished Professor of Humanities and Morse Alumni Distinguished Teaching Professor in the Department of Cultural Studies and Comparative Literature at the University of Minnesota. His previous books include Art and the Committed Eye: The Cultural Functions of Imagery (1996) and The Sight of Sound: Music, Representation, and the History of the Body (California, 1993).

Reviews

“Adorno is a great stylist.”—The Wire

"A book of landmark importance. It is unprecedented in its design: a brilliantly selected group of essays on music coupled with lucid, deeply incisive, and in every way masterly analysis of Adorno's thinking about music. No one who studies Adorno and music will be able to dispense with it; and if they can afford only one book on Adorno and music, this will be the one. For in miniature, it contains everything one needs: a collection of exceptionally important writings on all the principal aspects of music and musical life with which Adorno dealt; totally reliable scholarship; and powerfully illuminating commentary that will help readers at all levels read and re-read the essays in question."—Rose Rosengard Subotnik, author of Deconstructive Variations: Music and Reason in Western Society

"An invaluable contribution to Adorno scholarship, with well chosen essays on composers, works, the culture industry, popular music, kitsch, and technology. Leppert's introduction and commentaries are consistently useful; his attention to secondary literature remarkable; his interpretation responsible. The new translations by Susan Gillespie (and others) are outstanding not only for their care and readability, but also for their sensitivity to Adorno's forms and styles."—Lydia Goehr, author of The Quest for Voice: Music, Politics and the Limits of Philosophy

"With its careful, full edition of Adorno's important musical texts and its exhaustive yet eminently readable commentaries, Richard Leppert's magisterial book represents a brilliant solution to the age-old dilemma of bringing together primary text and interpretation in one volume."—James Deaville, Director, School of the Arts, McMaster University

"The developing variations of Adorno's life-long involvement with musical themes are fully audible in this remarkable collection. What might be called his 'literature on notes' brilliantly complements the 'notes to literature' he devoted to the written word. Richard Leppert's superb commentaries constitute a book-length contribution in their own right, which will enlighten and challenge even the most learned of Adorno scholars."—Martin Jay, author of The Dialectical Imagination: A History of The Frankfurt School and the Institute of Social Research

"There is afoot in Anglo-American musicology today the first wholesale reconsideration of Adorno's thought since the pioneering work of Rose Rosengard Subotnik around 1980. Essays on Music will play a central role in this effort. It will do so because Richard Leppert has culled Adorno's writings so as to make clear to musicologists the place of music in the broad critique of modernity that was Adorno's overarching project; and it will do so because Leppert has explained these writings, in commentaries that amount to a book-length study, so as to reveal to non-musicologists the essentially musical foundation of this project. No one interested in Adorno from any perspective—or, for that matter, in modernity and music all told—can afford to ignore Essays on Music."—Gary Tomlinson, author of Metaphysical Song: An Essay on Opera

"This book is both a major achievement by its author-editor and a remarkable act of scholarly generosity for the rest of us. Until now, English translations of Adorno's major essays on music have been scattered and often unreliable. Until now, there has been no comprehensive scholarly treatment of Adorno's musical thinking. This volume remedies both problems at a single stroke. It will be read equally—and eagerly—for Adorno's texts and for Richard Leppert's commentary on them, both of which will continue to be essential resources as musical scholarship seeks increasingly to come to grips with the social contexts and effects of music. No one knows Adorno better than Leppert, and no one is better equipped to clarify the complex interweaving of sociology, philosophy, and musical aesthetics that is central to Adorno's work. From now on, everyone who reads Adorno on music, whether a beginner or an expert, is in Richard Leppert's debt for devoting his exceptional gifts of learning and lucidity to this project."—Lawrence Kramer, author of Musical Meaning: Toward a Critical History

Table of Contents

1. LOCATING MUSIC: SOCIETY, MODERNITY, AND THE NEWCommentary (by Richard Leppert)Music, Language, and Composition (1956)Why Is the New Art So Hard to Understand? (1931)On the Contemporary Relationship of Philosophy and Music (1953)On the Problem of Musical AnalysisThe Aging of the New Music (1955)The Dialectical Composer (1934)

2. CULTURE, TECHNOLOGY, AND LISTENINGCommentary (by Richard Leppert)The Radio Symphony (1941)The Curves of the Neddle (1927/1965)The Form of the Phonograph RecordOpera and the Long-Playing Record (1969)On the Fetish-Character in Music and the Regression of Listening (1938)Little Heresy (1965)

3. MUSIC AND MASS CULTURECommentary (by Richard Leppert)What National Socialism Has Done to the Arts (1945)On the Social Situation of Music (1932)On Popular Music [With the assistance of George Simpson] (1941)On Jazz (1936)Farewell to Jazz (1933)Kitsch (c. 1932)Music in the Background (c. 1934)